Album reviews: Bob Mould and Otis Rush

Published: Wednesday, June 4, 2014 at 06:46 PM.

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Bob Mould’s latest album “Beauty & Ruin” is his boldest work since his days fronting Husker Du.

Like a loud, cranky doppleganger to R.E.M.’s somber “Automatic For The People,” “Beauty & Ruin” is a rumination on the death of a parent. Mould — along with Superchunk drummer Jon Wurster and bassist Jason Narducy - plow through these new songs like a tank battalion. As it turns out, introspection doesn’t have to be delicate.

In the tradition of Pete Townshend and Ray Davies, Mould’s ability to mix angst and melody is nearly without peer. The mighty wallop Mould lays on “Little Glass Pill” makes Green Day sound utterly unnecessary. “Kid With The Crooked Face” is the perfect marriage of introspective lyrics, steam hammer guitar and pulverizing drums. Anyone who says this stuff isn’t on a par with Mould’s early work surely needs an ear transplant.

The calm eye of this sonic storm is “Forgiveness,” which is conveniently placed in the middle of the album. Recalling the power pop Mould cranked out during his time leading Sugar, “Forgiveness” is the closest thing to a pop song on “Beauty & Ruin.” It’s not easily discernible if anyone is actually forgiven in the lyrics, but it’s a cracker jack tune nonetheless.

Just when you thought guitar rock was on its last legs, Bob Mould sweeps in and revives it. “Beauty & Ruin” is a highlight in an already storied career.

Although Otis Rush only cut a few singles for Cobra Records between 1956 and 1958, those sides helped form the foundation of the blues-rock explosion that would occur just a few years later.

Otis Rush’s influence on British rock musicians such as Eric Clapton and Jimmy Page is immeasurable. Page even went so far as to cover Rush’s version of Willie Dixon’s “I Can’t Quit You Babe” on their debut album. Although the song is credited to Dixon, Rush’s ferocious, ahead of his time guitar playing is what makes the song special. Compare the Otis Rush and Led Zeppelin versions of “I Can’t Quit You Baby,” and you’ll see what a debt Page owes to Otis Rush.

“Sit Down Baby” features harmonica genius Little Walter at the height of his powers, laying down a sly counterpoint to Rush’s slinky guitar lines. Rush’s spooky, emotional vocal on “My Love Will Never Die” is enough to make one believe he might actually be Dracula. There’s more power and feeling in the 3:06 of “My Love Will Never Die” than most two-hour films currently in theaters.

Bob Mould’s latest album “Beauty & Ruin” is his boldest work since his days fronting Husker Du.

Like a loud, cranky doppleganger to R.E.M.’s somber “Automatic For The People,” “Beauty & Ruin” is a rumination on the death of a parent. Mould — along with Superchunk drummer Jon Wurster and bassist Jason Narducy - plow through these new songs like a tank battalion. As it turns out, introspection doesn’t have to be delicate.

In the tradition of Pete Townshend and Ray Davies, Mould’s ability to mix angst and melody is nearly without peer. The mighty wallop Mould lays on “Little Glass Pill” makes Green Day sound utterly unnecessary. “Kid With The Crooked Face” is the perfect marriage of introspective lyrics, steam hammer guitar and pulverizing drums. Anyone who says this stuff isn’t on a par with Mould’s early work surely needs an ear transplant.

The calm eye of this sonic storm is “Forgiveness,” which is conveniently placed in the middle of the album. Recalling the power pop Mould cranked out during his time leading Sugar, “Forgiveness” is the closest thing to a pop song on “Beauty & Ruin.” It’s not easily discernible if anyone is actually forgiven in the lyrics, but it’s a cracker jack tune nonetheless.

Just when you thought guitar rock was on its last legs, Bob Mould sweeps in and revives it. “Beauty & Ruin” is a highlight in an already storied career.

Although Otis Rush only cut a few singles for Cobra Records between 1956 and 1958, those sides helped form the foundation of the blues-rock explosion that would occur just a few years later.

Otis Rush’s influence on British rock musicians such as Eric Clapton and Jimmy Page is immeasurable. Page even went so far as to cover Rush’s version of Willie Dixon’s “I Can’t Quit You Babe” on their debut album. Although the song is credited to Dixon, Rush’s ferocious, ahead of his time guitar playing is what makes the song special. Compare the Otis Rush and Led Zeppelin versions of “I Can’t Quit You Baby,” and you’ll see what a debt Page owes to Otis Rush.

“Sit Down Baby” features harmonica genius Little Walter at the height of his powers, laying down a sly counterpoint to Rush’s slinky guitar lines. Rush’s spooky, emotional vocal on “My Love Will Never Die” is enough to make one believe he might actually be Dracula. There’s more power and feeling in the 3:06 of “My Love Will Never Die” than most two-hour films currently in theaters.

Rush turns in stinging guitar work for “Three Times A Fool,” and if the vocals were removed you’d swear you were listening to an early Jimmy Page studio session. Robert Plant probably spent a fair amount of time studying Rush’s mammoth vocals on “Double Trouble,” pointing the way to Zeppelin’s “Since I’ve Been Loving You.”

Otis Rush has always gotten a fair amount of ink for who he influenced, but his work is much more powerful than those who studied at his feet and recycled it for unwashed hippies and shred freaks. “The Complete Cobra Sessions” belongs in any decent blues collection next to Muddy Waters, B.B. King and John Lee Hooker.

Jon Dawson’s album reviews appear every Thursday in The Free Press. Contact Jon at 252-559-1092 or jon.dawson@kinston.com. Purchase Jon’s books at www.jondawson.com.